Miró turned his palette to all sorts of musical visions. His work promptly proves it; his musical thirst unquenchable: classical, avant-garde, ballet, flamenco, contemporary. The entire gamut. In New York it was jazz and gospel; in Barcelona he favored flamenco, and in Paris the rest. This proven passion is similar to that of a stamp collector. So it was with Miró, whose collection includes recordings of the "music" of insects or birds; African and Asian traditional music; Bach, Mozart and all the classics, romantics. You name it—it’s there. His collaborations with the likes of Varèse, Antheil, Boulez, Stockhausen, Gerhard, Cage and others proved profound in terms of his musical education, as well as the commitment shown by his devoted stalwarts, who kept him abreast— and supplied—of all that was different and original.
Diccionario de Onomatopeyas del Cómic
Heptameron
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Fortuny o el Arte como Distinción de Clase
El Museo Imaginario
La Obra de Arte En la Epoca de su Reproductibilidad Tecnica
Miró Round Trip